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As you may or may not know, this website is currently undergoing a transition of sorts, which is one of the main reasons why there’s been a serious lack of fresh material posted here in the recent past.

Here’s what’s going on, in case you’re not aware… Very shortly, there’ll be a new, updated, ‘re-furbed’ version of ‘Conspiro Media’ appearing online and it’s hoped it’ll deliver a more expansive and up-to-the-minute experience for you. If you’re interested to know the whys and the wherefores to this, then you can’t do much better than to take a look at the following link. All is explained here:

In the meantime, you might be pleased to know that there’s now a Conspiro Media spin-off site online called, ‘The Occult Beatles.’ The title speaks for itself, so there’s really no need for any details here. If this takes your fancy, then click on the link below to see more of it…

Please keep tuned to Conspiro Media as there’ll be one or two articles to come before the revamp. For example, this year marks the fiftieth anniversary of the release of The Beach Boys’ classic album, ‘Pet Sounds,’ and Brian Wilson, the band’s one-time chief member, has just had his memoirs published in which he goes into some detail about the mental and physical trauma he suffered at the hands of his father, Murry as well as the hypnotic-like control he fell under when he was placed in the care of the psychiatrist ‘handler,’ Eugene Landy in the 1970s and ‘80s when his state of mind really took a dive – most possibly because of LSD. Was he yet another victim of MK ULTRA and the alleged CIA plot during the 1960s to bring about social upheaval through the distribution of psychedelic drugs and the so-called ‘counter-culture’? To mark the album’s anniversary and the book’s release, Conspiro Media will investigate in a particularly lengthy and informative article.

The annual kitsch & Camp-fest that is the ‘Eurovision Song Contest’ reached its deciding climax just a few days ago (Saturday May 14th) in Stockholm, Sweden and, as per usual, it was as glitteringly garish and head-scratchingly ridiculous when it came to choice of stage-costumes for some of the acts participating. Here’s some examples from over the years…

The songs up for contest (if you can call them, “songs,” with a straight face) are – in the overwhelming majority – so bad and so lacking in any originality that they often pale into insignificance next to the more interesting, albeit bafflingly outlandish costumes on display as well as the (unintentionally) comical dance-routines and stage-props.
If you’re unfamiliar with this annual competition and the – erm – ‘music’ it serves up, then here’s a very brief, not altogether comprehensive (but concise enough) description… It’s modern, mainstream Pop at its most vapid. Think Justin Bieber or Leona Lewis and then degrade them both by 10 (actually – more). This’ll give you an idea of how awful it all is. Perhaps worse than that, most of the songs have often sounded so dated, especially if you’re used to listening on a regular/daily basis to what’s on offer by way of America and Britain, the trailblazers in popular music. It’s like turning on your loud-speakers and travelling back a couple of decades or more to the tunes that, not only you, but time itself would like to forget. For example, remember that achingly-terrible hit single, ‘Looking for Freedom’ by one-time ‘Baywatch’ and ‘Knight Rider’ actor, David Hasslehoff? It’s not actually a Eurovision number and ‘The Hoff’ has never participated in the contest either, but, as far as ‘Conspiro Media’ is concerned, both the song and its star would fit in to the event like the proverbial hand in the glove. Here he is performing it live on the Berlin Wall back in 1989…

Is it any wonder – given all this cheesy, campy pomp – that the Eurovision has become a favourite within the so-called ‘LGBT’ community, where culture-trash of the most glamorous and garish variety is not only laughed at, but championed and enjoyed? Perhaps this is why, in 2014, the Austrian singer and drag-queen, Conchita Wurst (A.K.A. Thomas Neuwirth) was given the platform to shine on the contest, ultimately winning it?…

Conchita Wurst performing at the Eurovision in 2014.

Years earlier, in 1998, the singer, Dana International made history of sorts, becoming the first ever transgender person to be crowned Eurovision winner. Some might say all this is a canny, commercially-savvy move by the organisers of the contest to woo the lucrative gay audience. Others – most notably with an ‘Alternative’ view – have suggested that there’s a much more malevolent plan at play. For example, some commentators believe this is a push on behalf of the so-called ‘global elites’ to promote and effectively normalise amongst the masses the idea of men becoming women and vice versa, thus bringing about the destruction of humanity. The title of Conchita’s winning song, ‘Rise Like A Phoenix’ has, not surprisingly, been open to suspicion too, given its dark occult connotations.

Dana International.

Dana International was the Israeli entry in the competition, which in itself has been a cause for question. After all, what’s a country from the Middle East doing in a Euro-vision event that was first held back in 1956 after the public-service media alliance and non-profit organisation, the ‘EBU’ (‘European Broadcasting Union’) decided to create a TV-show that could be transmitted simultaneously in all the nations it represented? Well, according to a page on the contest’s official website, this is why:

Okay… so that’s that then. The above graphic also explains why Turkey regularly participates in the contest. Fair enough.
But!… Wait a minute…
Why has Australia been welcomed into the competition in the last couple of years? It’s certainly not highlighted in the graphic, which would leave one to assume – would it not – that it isn’t eligible for participation? Working on the possibility that the above map is, for whatever reason, inaccurate, ‘Conspiro Media’ went looking elsewhere for information that could perhaps conclude once and for all if this country in particular was adhering to the requirements for entry, one of which is that it must be what’s described as an “active member” of the EBU. Well, according to PDFs on the organisation’s official website, the answer to this, it seems, would be, no. A document dated, 9.3.2016 and listing all 73 members (56 countries) of the European Broadcasting Union, makes absolutely no reference to Australia. It does hold what’s described as an “associate membership of the EBU,” but, “it is important to note that associate membership does not grant access to the Eurovision system.” Mmmm… Are we missing something here? It makes no difference if we are, as it happens because the issue here isn’t whether or not any one country must honour these rules set out by the EBU in order to gain eligibility for the Eurovision contest, but whether there’s a suspicious, secret agenda behind what, arguably, was regarded in past decades as a quintessentially European competition becoming, in more recent times, increasingly global, taking in not only Australia but, this site is predicting, America as well. The all too obvious tell-tale sign of this was there to be seen and heard during Saturday night’s live contest when Justin Timberlake appeared mid-way to perform live. This would, undoubtedly, have shocked millions of viewers; a US Pop-star – especially one of his stature on the music-world stage – taking part in a show that has had no previous links of significance to the United States. As far as ‘Conspiro Media’ is aware, this is a first. It was also, perhaps, an orchestrated, introductory step towards the future involvement of the Americans? “No I don’t think so,” Eurovision executive supervisor, Jon Ola Sand reportedly told the UK-based newspaper/website, ’The Guardian’ when asked about the USA’s possible participation as a contestant in, say, 2017. Oh. But wait! He then went on to be quoted as stating that “this could change.” Aha.

Justin Timberlake performing at the Eurovision, 2016.

The first Eurovision Song Contest final consisted of just seven competing countries, those being: Belgium, France, Germany, Italy, Luxembourg, the Netherlands and Switzerland. In 2016 the total was 26, including, as noted, some non-European entrants. Jon Ola Sand has reportedly dismissed any suggestion that the event will eventually grow into what’s described in The Guardian piece as, “Worldvision.” But, hey. Who knows? “This could change” too, right? There’s already talk of an EBU-backed ‘Asiavision’ equivalent coming our way, and in co-operation with the Australian, ‘SBS’ (‘Special Broadcasting Service’). Incidentally – and call this cynical if you like – but, is that the reason why the grand finalist competing in this year’s contest on behalf of that country ‘just happened to be’ the Korean-born singer/song-writer, Dami Im? Furthermore, the spokesperson appearing live-by-satellite in Sydney for the Aussie judges during the event that evening in Stockholm was the Special Broadcasting Service’s network-TV presenter, Lee Lin Chin who hails from Indonesia (with Chinese parents).

So, who’s to say then that, in the space of a few years, ‘Asiavision’ won’t eventually merge with its ‘Euro’ counterpart before becoming a global model, much in the same way that researchers such as David Icke have warned us of the European Union and its eventual and inevitable integration into a One World Government by means of small, slow, unnoticeable, incremental steps – a devious process famously dubbed the ‘Totalitarian Tiptoe’? A hugely-popular event such as the Eurovision could, in its own modest but significant way, help realise the globalists’ dream through the use of NWO-friendly propaganda of both an overt and subliminal kind. There were certainly one or two moments during Saturday’s contest that raised the eyebrows in this regard, for example, there’s this…

‘Come Together’ for what? For an end to individuality? For the eradication of countless national cultures, customs and ways of living? For the homogenisation of us all into one bland, compliant global Race with one government, one religion, and, perhaps, one language? You would have been hard-pressed to identify what country each of the acts on Saturday’s Eurovision were representing if you didn’t pay attention to the screen-captions or the voice-over announcers – and that’s mainly because all but one of the entrants reportedly sang in English! Veteran broadcaster and music-pundit, Paul Gambaccini, is quoted as saying that this “shows the evolution of what it is like to be European. When the Eurovision Song Contest began, almost everyone sang in their native language and now everybody knows English. It is just reflecting the times.”

This article is mostly based on a hunch after viewing certain scenes from Saturday’s competition, but there isn‘t much in the way of strong evidence to back any of it up, just one or two classic tell-tale signs for you to take a look at and consider. Some of what you’ve read here (if not all of it) might have come across as ridiculous to you – even if you do lean towards an Alternative view. No surprise, really. There is something almost comical in the idea of the much-mocked Eurovision Song Contest playing an invaluable role in manipulating the minds of the masses for the good of a One World Order. But, when you’re aware of what has actually been carried out in the past by the media on behalf of governments and the Military/Intelligence/Industrial complex, it’s perhaps not so preposterous a thought? The event was jokingly referred to by, of all people, President Obama during a visit to Germany last month. Joshing aside though, he did mention it, albeit very briefly, for a purpose, right in the middle of a speech promoting the European Union project in fact. He said, “with strength and resolve and the power of our ideals, and a belief in a unified Europe, we didn’t simply end the Cold War – freedom won. Germany was reunited. You welcomed new democracies into an even ‘ever closer union.’ You may argue over whose football clubs are better, vote for different singers on Eurovision. (Laughter). But your accomplishment – more than 500 million people speaking 24 languages in 28 countries, 19 with a common currency, in one European Union – remains one of the greatest political and economic achievements of modern times.” According to the contest’s official website, nearly 200 million people watched 2015’s grand final. That’s a hell of a lot of people, and a hell of a lot of minds ripe for manipulation! So, if you do in future find yourself for whatever reason exposed to a TV showing this event, seriously consider the possibility (if you haven’t already) that beneath that garish, side-splittingly amusing layer of cheese, there’s something going on with the Eurovision Song Contest that is by no means a laughing matter.

Gonna sign off here with an edited screen-cap of a page from the Eurovision’s own website from last year…

Not long after the sad passing of Rock/Pop legend, Prince last week, I (that is, me – Matt Sergiou) received an e-mail from Mark Devlin, the DJ/presenter and premier public-speaker on all manner of subjects linked to the dark, occult workings of the music-industry. He asked me if I’d be at all interested in guesting on a hastily-arranged volume of his ‘Good Vibrations’ series of pod-casts, in response to the news of the famous musician’s departure. Accepting his kind offer, we eventually hooked-up via the wonders of ‘Skype’ not long later on April 25th – just four days after reports first broke of Prince’s exit. Joining us in what’s actually a three-way conversation and trade-of-thoughts is none other than well-renowned, veteran researcher, Freeman. He gives us his unique take on the music-star’s life and passing based on his famed knowledge of the occult and arcane. For example, he notes the esoteric and ritualistic significance of purple, a colour that’s synonymous with the musician thanks in large part, of course, to ‘Purple Rain,’ the album and movie that catapulted him into Pop superstardom in 1984. Is this relevant? Well – yes, it certainly could be when you take into account what’s discussed in the pod-cast with regards to the ‘Typhonian Trilogy,’ a series of books by Kenneth Grant, the now-deceased but former high-ranking figure within the ‘O.T.O.’ (‘Ordo Templi Orientis’), the occult order which was once spearheaded by perhaps its most infamous of members, Aleister Crowley, a man who – as you’ll no doubt be aware – was an influence on a number of famous music-stars including, most notably, Led Zeppelin’s Jimmy Page, and the very-recently departed David Bowie.

Freeman & Mark Devlin

In Freeman’s words, “Typhon is the Lord of the Abyss. He is Leviathan, he is all those things inside the Bible – of what lives in the abyss… In the abyss are the fallen angels, the excrement… and Typhon.” If you’re interested to learn how this might connect in some relevant form to the passing of Prince – the oft dubbed, ‘Purple One,’ do please listen to the pod-cast. You most probably won’t be surprised to discover upon doing so that the subject of Typhon and Grant’s trilogies are mentioned in the same breath as – in the words of Freeman again – “blood sacrifice” and “high profile rituals.” This, of course, helps lend fuel to the possibility that the musician was the victim of a dark, ritualistic, sacrificial killing. This scenario is made all the more potent by the fact that his death was announced on the day of the Queen of England’s 90th birthday, which was, interestingly enough, apparently marked by tributes of a purple-coloured nature. We discuss this briefly in the pod-cast and also acknowledge that all of this has occurred during a time in the year where we were leading up to the much-dreaded festival of Beltane when, Freeman says, there’s “the blood sacrifice of the beast.” Furthermore, and as noted by countless researchers of an ‘Alternative’ nature over the years, he reminds us that “when we look to the dates… this April 19th to April 20th, 21st era in time-zone, there are so many seeming ritual sacrifices.”
With this in mind, it’s worth noting at this point that there’s mention during the pod-cast of the apparent contradictions in what we’re being told in the mainstream media with regards to the cause of Prince’s death and how he’s generally perceived to have lived his life. After all, as both Freeman and Mark point out, we’ve been led to believe over the years that the music-star was a health-conscious vegan, a non-drug user, a Jehovah’s Witness, and, I‘d like to add here, a tee-totaller apparently. But this doesn’t tally with the MSM’s reporting of his death which has so far presented us with a constantly-changing version of events, most of which have strongly suggested that he was battling illness or some form of issues connected to prescribed medication. Initially, and as Mark points out in the pod-cast with – I suspect – a tongue a little in cheek, we were told by the mainstream that “he just happened to collapse in an elevator after having the flu at the age of 57.” Since recording this pod-cast, the flu stories have been superseded by reports that he was a victim of AIDS no less. Of course, it’s still way too early in the day to be forming definite conclusions as to what may have contributed to Prince’s passing – indeed, as is the case throughout history when we look at the deaths of high-profile, famous individuals – we might never truly know. Be that as it may though, the MSM, with its dizzying and thus-far ever-escalating array of claims and reports will – as a result – have done little to dampen the suspicions of those of us who’re questioning the mainstream version of events and who are leaning toward the possibility that foul-play might very well have been the cause. Whether Prince met with a grisly, violent end in keeping with the occult, sacrificial practises that Freeman outlines, and/or if it was an evil, cynical manoeuvre on behalf of the corporate ‘Powers That Be’ to somehow claw back ownership of the musician’s lucrative master-tapes which he’d seized control of in 2014, is anyone’s guess at this stage. It’s no secret that he’d been involved in a monumental dispute with his former record company, ‘Warner Bros.,’ a spat which gained him a significant degree of infamy when, in the 1990s, he appeared in public with the word, ‘slave’ inscribed on his face and also changed his name to, (otherwise referred to as, ‘Symbol’). All of this is discussed during the pod-cast, as is his very vocal and very candid views on the nasty machinations of the music-industry.

The moniker is elaborated on in the pod-cast at some length, actually. We get the ‘Freeman perspective’ on the possible occult connotations attached to ‘the symbol’ which, in fact, was one of many alter-egos adopted by Prince during his illustrious career. I get into some of the details of this, putting forward the suggestion that what we might be dealing with here is yet another case in a long line of music-artists suffering from the effects of MK ULTRA/trauma-based mind-control. There’s certainly data available that hints at this. But then again, there’s also the possibility that these multiple personas were – in Mark’s words – “some kind of demonic possession”?

As discussed in the pod-cast, glass pyramids on the roof of Prince’s Paisley Park studio-complex. Notice the one with the cap-stone? The musician is known to have expressed an interest in Egyptian history.

During the pod-cast, we also focus very briefly on the days directly leading up to the news breaking of Prince’s death, when there were highly suggestive indications from him and his camp that they/he somehow knew what was coming. Yet another intriguing puzzle there. What we can be sure of is this though: He was a one-of-a-kind. I mean – just one example – how many Pop superstars do you recall who have openly discussed the issue of chemtrails? Here’s the musician in an interview from a few years back (from 2011, if I’m not mistaken?)…

In the three-way pod-cast, which was originally released online on April 26th, we also raise the issue of 9/11, given that it has specific relevance to Prince. Plus, Freeman waxes lyrical on the thematic, occultic parallels that can be drawn from other high-profile artists such as Katy Perry, and Madonna – the last-surviving of the four ultimate music superstars of the 1980s.

Listen to the pod-cast here:

Here’s some relevant links that might be of interest to you?… First off, you can check out Freeman’s work here:

If you’re a regular visitor to ‘Conspiro Media,’ you’ll perhaps be aware of the proposed plans for a radical revamp of the site in order to expand its ability to encompass a wider variety of articles and items and finally (at last) in order for it to provide regular, round-the-clock bulletins and analysis on developments that might be of interest to those of us who keep a keen eye (and ear) on the occult/conspiratorial elements within the world of music, movies, TV and other forms of art/entertainment…

It’s been a long time coming, but it can now be revealed that this ambitious proposal has at last entered the early stages of actual reality!

In January this year, the wheels were finally set in motion following a lengthy search during 2015 to locate a keen and able web-designer who’d be interested in taking on the task of reconstructing the site.

Actually, the effort and time involved in seeking-out a suitable web ‘techie’ is one of the main reasons behind the lack of freshly-posted material here for nearly a year – although it must be noted that there are a couple of almost-completed articles to come soon, and if you’re a regular reader here, it’ll perhaps come as no surprise to you to learn that they’ll be as lengthy and as detailed as most that have come before.

The ideas fuelling this move towards a revamp can be traced back to 2011 and before ‘Conspiro Media’ first appeared online in June of that year. In fact, the original concept was for the creation of a website far grander in scale than the one that has transpired, consisting of four main components:

2)A section showcasing singers, rappers, musicians and remixers/producers of an Alternative nature who communicate a meaningful message (and who might not necessarily be widely-known).

3)A regular(ish) smattering of lengthy, in-depth articles.

4)A ‘YouTube’ channel featuring exclusive interviews with researchers, authors and others relevant to those of us seeking more information on the dark, arcane, symbol-ridden, plot-scheming (yet not always altogether negative) elements that are (and always have been) present in entertainment/media/The Arts.

As it’s turned out, the last two ingredients in this ambitious wish-list have been achieved, but the first two haven’t. So, not the desired result of course, but by no means due to accident or disaster. Faced back in 2011 with the uphill challenge of building a large-scale website from scratch with absolutely no prior knowledge or experience about how to achieve this, and mindful of the sheer amount of days, weeks and months that would pile up on the way to attaining this goal as a consequence, it was decided to go ahead with something less elaborate first. After all, why hold back on sharing information – any information – that might be of value and/or relevance, however small or understated? Best to engage in a minimal form rather than not at all, take each day as it comes and assess all progress regularly – test the waters as it were ahead of any plans to expand as desired. And that’s exactly what’s been happening. However, it was hoped in the early days of the site that, despite its physical limitations, ‘Conspiro Media’ would provide readers with at least a modest stream of regular, topical items. That hasn’t come to pass of course and the reason for that is largely due to the time and effort spent preparing almost all of the lengthy and detailed articles posted here. Each one of these will have come as a result of anywhere between a week to six month’s-worth of work. Most of this is spent on painstaking research (fact-finding, reference-hunting, cross-checking), and also – to a lesser extent – on the collating and arranging of all the relevant and useful data into a readable-enough format once it’s been collected – and all in a genuine bid to deliver the most reliable, accurate and significant information possible. Obviously, a top priority whilst preparing such a lengthy article is to get it completed and published as soon as can be. In order to achieve this, one must apply a single-minded approach, and ultimately, at the cost of reporting on any breaking news-items and topics occurring in the meantime that might be relevant to this site.

In theory, an expansion of ‘Conspiro Media’ towards a multi-level platform that’s partly independent of the one-dimensional constraints of the so-called ‘blog-roll’ format it currently resides within @ ‘Wordpress.com,’ will allow for the continuation of the lengthy, extensively researched posts that are months in the making, but will no longer stifle the general flow of the site into the bargain. In other words, there’ll be enough space and freedom available to offer readers something new and topical on an almost daily basis – such as was first envisaged back in 2011. The idea is, whilst you’re waiting up to six months for the next article of epically-long proportions to appear, you can occupy yourself in at least one or two other sections of the site where there’ll almost certainly be fresh, regularly updated content.

It’s still too early to predict when the new, expanded version of ‘Conspiro Media’ will materialise, although it’s a fairly safe bet it’ll be at some point this year. In the meantime, do please keep checking back here because, as noted earlier, there are two almost-completed articles on the way (one focusing on troubled Beach Boy Brian Wilson, the other on the CIA’s documented role in the world of popular music), and at least a couple of podcast-style interviews that have been pencilled-in for future recording. Also, work will resume soon on the final instalment of the three-part Rolling Stones retrospective, the first of which was published here in 2013.

If you have any questions or comments regarding the revamp plans, or indeed any ‘techie’ advice (most welcome that would be!), don’t hesitate to get in touch. Ditto if you’re a singer, rapper, musician, or producer/remixer/DJ who has something meaningful you’d like to share in the proposed music-section of the new upcoming incarnation of the site. Make contact via the ‘comments’ tab (the speech-bubble at the top of this post) or by e-mail (contact, me – Matt Sergiou – at conspiromail@gmail.com).

Don’t forget: To ensure that you’re kept up to speed with the latest goings-on here, please do feel free to subscribe for e-mail updates.

That’s it for now, and thanks for your time… I hope I can deliver you the goods as soon as can be – and, more importantly, to your liking with full effect.

It seems only right that ‘Conspiro Media’ should bring some closure to an article published here just over a year ago that’s full of loose-ends but which can now, to an extent, be tied-up thanks to some new information that‘s since come to light. Furthermore, given that it centres around a horror-movie hit, it’s quite fitting that it should be posted so close to Halloween. You might recall it?…
Back in March 2013, this site posted an article based on a series of terrifying incidents that are said to have affected people associated with ‘The Omen,’ the 1976 movie that follows the exploits of Robert Thorn (played by actor, Gregory Peck) a US ambassador to Great Britain who begins to realise that his adopted infant son, Damien, is the anti-Christ after investigating the circumstances behind the gruesome deaths of a priest and a nanny. It’s long been suggested that some of those linked to this big-screen project became the victims of a demonic curse after they were either injured, killed or nearly killed in seemingly bizarre real-life episodes that on one or two occasions mirrored scenes from the film. These were documented in a TV-documentary in 2005 titled, ‘The Curse of The Omen.’ This television-programme, which aired on the UK’s ‘Channel 4,’ has never been screened since (as far as ‘Conspiro Media’ is aware) and wasn’t widely available on the ‘net at the time the March 2013 article was written and posted, meaning that much of the information posted here was based on hazy memories of the original broadcast and a few scraps of data gleaned from various websites. You can read that here:

You might be pleased to know that the TV-documentary has since been posted onto ‘YouTube’ by someone operating under the username, ‘mike halton‘ and that it’s been embedded below for your perusal. Much of what’s documented in the programme does largely correspond with the above article in spite of the lack of information on offer at the time it was being prepared. Additionally, having viewed it again in full after all these years, ‘Conspiro Media’ has now been able to explore some of the claims made in the documentary in a bid to check out their validity. There are sceptics out there after all, who’ve concluded that these horrific incidents were dreamt up by the film-makers for promotional purposes.
So…

*Did a plane originally hired by the film-crew to shoot aerial-shots over London actually crash at the end of the runway and hit a car, resulting in the death of the vehicle’s occupants, none other than the wife and two children of one of the airfield‘s pilots?…

In the documentary, which features lengthy contributions from most of the movie’s main players including producer, Harvey Bernhard and executive-producer, Mace Neufeld, we’re informed that the plane they’d hired for the aerial-shots was instead rented out to “Chinese businessmen” because they’d offered, so says director, Richard Donner, “a better deal.” The film-makers were told they could take it out at a later date for a “discount.” They agreed. On take-off, a flock of birds apparently flew directly into the engines causing the jet with its Chinese passengers to crash. Six people were killed according to the documentary’s narrator including the wife and children of one of the airfield’s pilots.
‘Conspiro Media’ has located information to verify many of the details behind these claims. According to a website titled, ’International Centre for the History of Crime, Policing and Justice,’ and which is operated in conjunction with the UK’s ‘Open University’ and Robert Bartlett, a former British police Chief Superintendent, a plane (an HS125) “taking off from Dunsfold Airfield struck a car… killing the woman and five girls travelling inside. On a dark, late afternoon in 1975, at about 4 pm November 20th, Sergeant Robert Bartlett… was sent by Control to the A281 Guildford to Horsham Road at the end of the Dunsfold runway, where a plane was reported to have crashed. The plane had hit birds, lapwings, on take-off and came down at the end of the runway. The speed was so fast that there was no time to brake and the plane shot through the perimeter fence across the road hitting a car… there had been five children and an adult in the car, all killed, as the vehicle was crushed and completely destroyed.” According to another witness at the crash-scene, Clive Stanbury, “I was called back from temporary inspector duties… to conduct grid-mark and document the crash-site. I may not have this exactly right but I think the pilot of the crashed aircraft was a friend of a fellow pilot who was the father of two of the children who were killed being passengers in one the two cars (sic) the plane hit…” His claim that the car-victims were connected in some shape or form to the pilot of the plane is echoed by a colleague who’s quoted as stating, “I attended with Chief Constable as his driver. The aircraft careered through a hedge and struck a passing car containing the wife and children of a test-pilot from Dunsfold. All the occupants of the car were killed.” Incidentally, it might interest you to learn that this particular witness-account was made by a man going by the name of John Thorne(!). What’s also strange is that, in the words of the documentary’s narrator, “essential safety equipment” on the plane “had been switched off” on the day of the crash. Footage of what appears to be a TV news-bulletin is shown that seems to corroborate this. “One spokesman told me Dunsfold does have bird-scaring devices,” says a reporter. “But at the time the executive-jet took off, these were not in operation.” It’s at this point that the entire incident takes on a whole new twist – if you investigate it closer still, that is and approach it with an open-mind, irrespective of whether or not you believe the plane was downed by demonic forces. Actually, don’t even think about the ’curse’ for a few seconds and consider the crash from a geo-political perspective instead. You see, if Robert Bartlett and his colleagues are to be believed, the “Chinese businessmen” onboard the plane were actually visiting the UK incommunicado to buy military aircraft. He states, “the Chinese… were passengers on a top-secret mission to consider the purchase of Harrier Jump Jets.” John Thorne concludes, “I do not know if the following contravenes the Official Secrets Act. The aircraft was being demonstrated to members of the Chinese delegation” all of whom survived the crash. “They were all taken to the hospital to get them away the site (sic), where it is said they all gave as their names and addresses as the Chinese equivalent of ’John Smith, 1 High Street, London’” states Bartlett. Assuming the above witness-accounts are true (and who’s to say they’re not), it could be that the ‘switching off’ of the plane‘s “essential safety equipment” was neither accidental nor the work of a demonic hand (well, not strictly speaking any way), but instead instigated by covert forces of a more Earthly nature – namely, Western Intelligence figures out to assassinate members of the Chinese Military Industrial Complex? Note that the crash occurred during a decade in time when the so-called ‘Cold War’ was in full swing.
Of course, sceptics could argue (and most probably have) that the movers and shakers behind ’The Omen’ film were in no way personally involved with either the incident, or the airfield where it occurred, but weaved themselves into it regardless for the purpose of plugging their movie after watching TV news-bulletins reporting on it. That’s quite possible. However, it can also be argued that the circumstances surrounding the nature of the crash are wide open enough for question as it is (as well as highly unusual) – curse or no curse.

* Was a special-effects man on ‘The Omen’ in a real-life car accident that was almost identical to one of the film’s goriest scenes?…

‘The Omen’ is littered with grisly death scenes, but perhaps the most graphic is the one where the character of photographer, Keith Jennings has his head decapitated by a sheet of glass which mysteriously flies off the back of a truck. In the documentary, we’re told that John Richardson, the creator of that stunt, was involved in a road-smash in Holland where he was working on his next movie. He survived but his assistant, Liz Moore, died instantly after the front-wheel of his car came right through it, cutting her in half. Interviewed for the Channel 4 programme, he says, “it was certainly very odd, because it happened on Friday 13th.” Odder still, as he lay there seriously injured, he noticed that “right opposite the point where the accident happened was an old mile-post with nothing but sixes on it… what spooked me even more was when I discovered it was on a road to a place called, ‘Ommen.’” His claims are backed-up in the documentary by George Gibbs, an Oscar-winning special-effects artist who worked on ‘The Omen.’ With regards to the spooky road-sign, he says, “the accident was on the road to a town called, Ommen. And it had ‘66 km’ on the sign.” He knows that, because he “drove back over the place when the accident happened.” But why was he in Holland at the same time as Richardson? Well, no explanation for that is put forward, although, presumably, it’s because both men were working there together on the same film? A quick scan through the movie web-source, ‘IMDb’ would appear to confirm this. The pair were involved in the making of the 1977 war-flick, ‘A Bridge Too Far’ which was partly shot in the Netherlands. Incidentally, a stuntman on ’The Omen’ was seriously injured on the set of this WWII adventure after he jumped off the roof of a building and missed the large air-bags that were positioned to cushion his fall. This is noted in the documentary (and in the earlier ’Conspiro Media’ article).
Of all the grisly and ghastly incidents that occurred before, during and after the making of ‘The Omen,’ the road-crash is perhaps the most compelling, and it appears to be all-true – well, almost. There’s some dispute to a claim made in the documentary by the narrator that the Ommen road-sign actually read: ‘66.6 km.’ It’s been parrotted since on countless websites. However, according to a forum-poster at ’HorrorExpress.com’ who declares himself to be Liz Moore’s son, “there was no 666 crap.” All the other details of the crash though are accurate. “The person in question is my mother Liz Moore,” the message begins. “She was not John Richardson’s assistant, she was one of the designers on ’The Omen’; A special-effects sculptress. She was decapitated, and it was Friday 13th, and she died next the ’A’ sign for Ommen… the facts given by me are correct as they can be.” On the face of it, it would appear that the forum-poster is genuine. If you check out their username – ‘dandickenson’ – you’ll soon discover that there is indeed an individual by that name whose mother was Liz Moore – and, yes – she was a sculptress who worked on a number of movies including, the Stanley Kubrick classics, ‘2001: A Space Odyssey,’ ‘A Clockwork Orange’ and ‘Barry Lyndon.’

Liz Moore @ FaceBook… CLICK TO ENLARGE

She’s also credited for her contribution to ‘Star Wars,’ having modelled the C-3PO suit and the helmet for the Stormtroopers. The website, ’LizMooreSculpts.com,’ meanwhile, states that she died on August 13th 1976 (a Friday) “leaving a son Dan.”

*Was an employee of a safari-park killed by tigers shortly after ’The Omen’ film-crew finished work there?…

If you’ve watched ‘The Omen,’ you’ll no doubt recall the part of the movie where Damien and his adopted mother (played by actress, Lee Remick) are attacked by baboons in a safari-park. According to the Channel 4 documentary, a further two scenes were shot at the same location, one of which was set in a big cats’ enclosure, although it never made the final cut. Assisting the crew was a young man who, Richard Donner says, worked in the lions’ section. The director claims he “was attacked and killed” the very day the film-makers left that section of the complex. Harvey Bernhard states that the 22-year-old victim met his end when he “was in-between two wire fences… Unbeknownst to him, he thought the tiger was on one side.“ However, “the tiger was on top, and when he stuck his head out, the tiger grabbed him by the head, pierced his skull and just killed him.” The documentary gives out the name of the young man said to have been killed that day, although – thanks to the not-so-excellent audio-quality – it’s not exactly clear if the narrator is saying, “Sidney Banford,” or “Bamford.” This is important if we’re looking to verify the film-makers’ claims. What we can ascertain (according to Donner, ’Wikipedia,’ and IMDb), is that the baboon-scene was shot at ‘Windsor Safari-Park’ in the English county of Berkshire. Armed with this knowledge, ‘Conspiro Media’ went digging for more information and it wasn‘t long before it found some…
There’s a message posted on the forum/website, ‘Windsor SafariPark.org’ dating back to 2005 and credited to an individual by the name of John MacLaverty, a “director/producer.” It reads:

Hi there.

I’m currently finishing a documentary on the filming of ‘The Omen’ for Channel 4.

As I’m sure you know, part of the film was shot in Windsor Safari Park in 1975. Shortly after the filming a member of staff (Mr. Syndey Bamford) was killed by a tiger…

As a result, we’re trying to get in touch with Mr. Bamford’s next of kin, to make them aware that the programme will be broadcast later this year. We don’t want to interview them, or upset them, merely to make them aware that we mention the incident in the documentary.

I’ve been unable to track down any contact numbers and wondered if you would be able to point me in the right direction or suggest a way of getting in touch with his family?

Of course, you will no doubt have noticed that the said victim of the safari-park attack is referred to as ‘Syndey’ in the post. Is this a typing-error? It could well be, because after conducting a search for the name, ‘Sidney Bamford’ in the indexes of the website, ‘UK Archives,‘ ‘Conspiro Media’ located some data that seems to match the details put forward by those involved with the documentary. There in black and white is ‘Sidney Thomas Bamford’ of the town of Bracknell in the county of Berkshire. Year of death: 1975. Year of birth: 1952, which means he was either aged 22 or 23 when he died.

… CLICK TO ENLARGE

Further still, there do appear to be press-cuttings available on the web dating back to that time (November ‘75) reporting on his death. Unfortunately, they’re only accessible on one site (’Newspaper.com’), a site that requires you to part with $79.95 a year or $7.95 a month in subscriptions. That’s a heavy price to pay for the pleasure of reading a small paragraph in an old clipping. (Hey! This blog is run on a shoestring in case you haven’t noticed!) So, instead, here’s a scan of ‘Google-search’ where you can pick out clues of what’s in those old pages. You’ll make out that “the tiger leaped on Sidney Bamford as he patroled (sic) the tiger compound” at “Windsor Safari Park, 21 miles west of London…”…

Do note though, there’s at least one discrepancy with regards to the film-makers’ accounts of this incident. In a six-minute featurette enclosed within the collectors’ edition of the DVD re-release of ‘The Omen’ titled, ‘Curse or Coincidence’ (and available to view in the earlier ‘Conspiro Media’ article), Richard Donner says the “young guy” at Windsor Safari Park was killed by lions. He makes no mention of tigers. Why?
It’s not the only point in the featurette where we can detect a differing version of events when compared to accounts made earlier in the Channel 4 documentary. You’ll spot another inconsistency if you check out what those involved with the movie have to say in relation to claims that two commercial airline-flights carrying members of the cast and crew from LA to London in 1975 were struck by lightning, within days of each other. Gregory Peck was on the first, on his way to Britain to begin filming ‘The Omen’ so we’re told – but there’s some conflict as to who was on the second. In ‘Curse or Coincidence,’ Richard Donner tells us it was the movie‘s screenwriter, David Seltzer. In the Channel 4 documentary however, Mace Neufeld says it was him. “On my way over, we went through a tremendous thunderstorm, I mean really shaky,” he claims. “All I know is that it was the roughest five minutes I’ve ever had on a commercial airliner. We were hit by lightning… It was very, very scary.” We’re either being led a merry dance here (for whatever reason), or it could just well be that these incidents did occur, but the exact facts surrounding them have been forgotten by the ageing memories of those involved? For example, according to sources not connected to either the featurette or TV-programme, David Seltzer was indeed a passenger on a London-bound plane that was hit by lightning. In the book, ’Technomage,’ author and occultist, Dirk Bruere notes that some hours after Peck boarded his flight to the UK, “the plane carrying the screenwriter David Seltzer was also hit by lightning.” Some websites claim that all three (actor, screenwriter, and Neufeld) – and even Donner – were subjected to this chain of extraordinary occurrences. Unfortunately, ‘Conspiro Media’ has been unable to locate any information to substantiate these accounts.

As you might be aware, as well as the plane crash, the car-smash, the lightning strikes, the safari-park mauling, and the stunt gone wrong, members of the movie-crew and production-team are also said to have narrowly-missed being killed in an IRA bomb-attack, and yet another road collision. As well as this, Gregory Peck’s son committed suicide shortly before the actor began work on the film.
In the Channel 4 documentary, Mace Neufeld refutes accusations that many of these incidents were created for the means of hyping ‘The Omen’ on its release in June 1976. “There were reports in the newspapers of things that were going on,” he says. “They were actually going on.” Donner concurs, however, in the DVD-featurette, he does also claim that these real-life tragedies and near-misses were capitalised on too. “We had all these things happen,” he states. “Are they ‘omens’… is there something bigger? I say ‘no.‘ It’s just an incredible coincidence. There are those that would like to think about it, that it’s something more, and when the publicity-department at Fox (Studios) got their hands on it, we all said, ‘yes. It’s the omen because we’re selling our movie.’” This version of events conflicts with what Harvey Bernhard has said though. He would have us believe that – as far as he’s concerned – there was indeed a demonic hand influencing the making of the film. “The Devil was at work, and he didn’t want the picture made,” he says in the documentary. Really?… Then how come it was completed – and followed rather swiftly by two sequels? So much for a ‘curse’… Whilst scouting around on the internet, ‘Conspiro Media’ has discovered that this is one of the more popular points of contention with sceptics. Perhaps the producer has an answer for that however? In the Channel 4 programme, he says quite plainly and simply, “when you prevail over evil, it’s a blessing. And we prevailed.” While we’re at it, another common strain of dispute popular among the less-convinced is the fact that some of the incidents that affected the cast and crew occurred after the film hit the cinemas when – presumably – the curse would have lifted… surely? Well, that train of thought doesn’t appear to correspond with the view of pastor, Bob Larson, a broadcaster, author and exorcist who was interviewed for the documentary. He says, “if there was a curse on the production of that movie, and I’m fairly convinced that there was, then that curse is still there. And demons are still following everybody who is involved to this day.” Of course, there’ll be sceptics reading this who’ll refuse to entertain any of these explanations purely because to do so would be to accept that a (for want of a better term) ‘invisible force’ might – or does – exist (whether it‘s ‘the Devil’ or not). And it’s at this point where the debate surrounding this issue (which rages on various internet-forums and websites) hits a dead-end. You either believe to some extent that something of a supernatural nature is a real possibility, or you don’t, and our opinions regarding ‘the curse of The Omen’ hinge on this fundamental point to a large degree. Any one who’s genuinely interested in breaking through this impasse and continuing the dialogue with those of a differing view should perhaps consider suspending any preconceptions they might hold (whether they’re of a sceptical persuasion or not) and then allowing their minds to open to all potentials, however outlandish or unacceptable they might seem. Only then (surely?) can we begin to see a whole instead of a part?

Back in June this year, Mark Devlin – the UK’s leading speaker on the occult/conspiratorial elements within the entertainment industry – published a pod-cast in which he chats with prominent researcher, Tina Foster of ‘Plastic Macca,‘ the blog which looks into evidence of Paul McCartney’s alleged ‘death’ in 1966. There’s also contributions during the conversation from ’Conspiro Media’ – or, in other words – me; Matt Sergiou.

If you choose to take a listen to the pod-cast (available below), you’ll hear Tina talking us through many of the ‘clues’ alluding to this decades-old theory and that are said to be found in occult form on Beatles and solo McCartney album and single covers, and more blatantly in sound via backwards messages on songs. She also cites a number of physical differences between the ‘real’ Paul and the ‘impostor’ Paul (A.K.A. ‘Faul’) that she says can be seen when comparing photographs and footage prior to 1966 and after, when he was said to have been replaced. She highlights the research of two Italians, Francesco Gavazzeni and known forensic pathologist, Gabriella Carlesi who together have studied the facial features of the pre and post-’death’ McCartney and concluded that there is indeed a definite difference between the two that cannot be dismissed. Then there’s the apparent anomalies surrounding the long-contested paternity battle between the former Beatle and a German woman who claims she gave birth to their daughter in the early 1960s. In 1984, Erika Hubers alleged that a blood-sample taken from McCartney for examination in a court-case that she launched against him at the time to prove he was the father was not in fact McCartney’s but an impostor’s. Indeed, during the pod-cast, Tina talks about the use of decoys and doubles in the ‘Paul Is Dead’ (‘P.I.D.‘) conspiracy. She also revisits the comments made in 2007 by Heather Mills who told the world’s media that she’d discovered a ‘terrible secret’ about Paul her then soon-to-be ex-husband.
The circumstances surrounding the ‘death’ of McCartney in ‘66 are discussed during the pod-cast too. Tina doesn’t subscribe to the widely-cited claim that the music-legend died as a result of a car accident. She’s of the view that he was ‘bumped-off’ by the Powers That Be and then replaced by a more NWO-friendly version, one perhaps that wouldn’t question the globalist agenda to corrupt the world’s youth, most notably in the promotion of widespread drug-use during the late 1960s.

Personally, I’ve remained largely sceptical of P.I.D. However, my mind is open and in no way dismissive towards the theory in principle. As I say during the pod-cast; although there isn’t enough evidence on offer to convince me that Paul is most definitely dead, I do feel there’s plenty of signs to indicate that “something untoward” is going on (… smoke, but not necessarily a fire as such). I expressed my thoughts on this (to some extent) in the closing paragraphs of an article on ’Conspiro Media’ back in May 2012:

During the pod-cast, I raise some questions that I and possibly others who’re sceptical towards P.I.D. have posed over the years, such as; how is it that not one member of the ‘original’ Paul’s family back in Liverpool have ever come out publicly to expose the fraud? Surely someone in the McCartney clan has noted the change in appearance, if not in personality? Actually, Tina, Mark and I are in agreement when it comes to the ex-Beatle’s behaviour in recent years, behaviour that’s resulted in him becoming a shoulder-rubber with the so-called ‘elites’ in politics and royalty, and – so it would appear – an advocate of their dark agenda also. The pod-cast ends with us speculating as to whether the secret to this decades-old mystery will ever be revealed, or will it remain a theory that goes with everyone to their graves?

Be sure also to take a listen to Mark’s ‘Good Vibrations’ series of pod-cast interviews with many of the world’s leading ‘Alternative’ researchers and speakers who discuss a variety of issues and topics:

You might also be interested to learn that Mark will be talking about the dark, occult machinations of the music-industry at the live event, ‘Cornwall Awake!’ on Saturday November 22nd 2014:

‘Conspiro Media’ is always open to sharing information put forward by other websites if they’re shining the spotlight on subject-matter pertaining to the conspiratorial/occult elements within the world of music, movies and TV. The following short article is one such example…
Some days ago, the renowned ‘Red Ice Creations’ featured an interview with two members of ’JoyCamp,’ a group of satirists based in Los Angeles who, in the last couple of years, have made a name for themselves within – for want of a better term – the ’Alternative community’ thanks to their ’YouTube’ skits that take a comical, but critical look at issues/topics ranging from GMOs and chemtrails to ‘ObamaCare,’ and RFID chips, the TSA, and Zionism (to name but a few). They’ve also taken a swipe at the entertainment industry in a series of award-show spoofs, such as the one below in which Benny Wills and Kevin Kostelnik, the two principle members of the group, give us their take on the 2014 Grammys. In the following sketch for example, they call out the nominees for the ‘Illuminati Puppet of the Year’ gong…

Please note that the video above isn’t lifted directly from JoyCamp‘s pages, but is actually a shared copy. You see, at the time that this article was being prepared, most of the award-show spoofs on their site were pulled. Their send-up of the 86th Academy Awards, for example, is now no longer available “due to a copyright claim by the Academy of Motion Picture Arts and Sciences.” Presumably, that’s the reason why the comedy-team have also opted to withdraw the aforementioned Grammys parody and a skit on the 2013 Oscars from their listings. Both are now only for ‘Private Viewing.‘ However, as is the case with the ‘Illuminati Puppet of the Year’ sketch, if you scout around on the internet long enough, you’ll be able to find copies of all of these uploaded onto other, unrelated, YouTube pages… For example… From one titled, ‘Anti New World Order’:

Another JoyCamp video-spoof worth noting is, ‘World War III Pre-Game Show.’ This was published in September 2013 when the media was reporting on President Obama’s active efforts to garner support for military action in Syria. Sadly, when you take into account what’s been going on in world-events in recent days with regards to the western air-strikes against that country as well as in Iraq, this skit is perhaps more potent and timely than ever before…

The JoyCamp team also explore issues of a sociological/philosophical nature. On the ‘YouTube’ page for their five-minute-plus short, ‘Internet Kill Switch’ for example, they ask: What would happen if the internet suddenly shut-off? In the video, two friends are placed in such a scenario, forced to live in a world without it…

In the ‘Red Ice’ interview with Benny and Kevin, much of the emphasis is focused on Hollywood, and, in particular, its pro-Israeli stance, its failure to speak out in condemnation of the attacks on Gaza a few weeks back, and its negative treatment towards those few famous actors who have actually voiced their opposition in some shape or form in recent years with regards to this issue in general. The film-director Steven Spielberg (or – as he’s referred to by the JoyCamp guys in the interview – ’Steven S-Bilderberg’) is also called out, especially in relation to the propaganda and disinformation that they believe is peddled in his Oscar-winning movie, ’Schindler’s List.’ “Every single Holocaust movie… is how we get our history of the Holocaust,” says Benny. “I remember watching ‘Schindler‘s List‘ when it came out when I was a kid… and to think that I got played, you know?” They also talk briefly about the sad demise of Robin Williams.

Benny and Kevin.

Now in their early-thirties, Benny and Kevin first met when they were in their late-teens whilst at junior college. They then transferred to San Francisco State University together. It was here, they say, their passion for seeking out knowledge of a conspiratorial/suppressed nature was first ignited. Wills recalls, “it was there that we saw the very first – or our very first – conspiracy ’YouTube’ video regarding 9/11… And it just blew our minds. And I think from there, we became – for lack of a better term – conspiracy theorists and spent the next 6 or 7, or 8 years even, just diving down every rabbit-hole that opened up to us.” The aim of JoyCamp, they tell us, is to bring a dose of much-needed humour to the Alternative-media and “the Awakening process in general,” something they believe is seriously lacking. As far as they’re concerned, comedy also has the ability to mould a weighty subject such as chemtrails into a palatable enough form for mainstream digestion, thus encouraging people who might otherwise scoff at such a topic to instead seek out more information about what those strange formations in the sky actually might be.
During the interview, Benny and Kevin also talk about political-correctness in comedy, and the effect that the six-hour documentary, ‘The Greatest Story Never Told’ has had on them since watching it recently. It’s a film that challenges the mainstream accounts of Hitler, WWII, and the Holocaust as repeated for decades in books, documentaries, movies, and our education-systems. Red Ice presenter, Henrik Palmgren begins the pod-cast however, with a few thoughts of his own, thoughts that ‘Conspiro Media’ has expressed in past posts over the years regarding the ongoing efforts and machinations of the so-called ‘elites’ in their bid to control and enslave humanity, and, more to the point, the essential role of the media/entertainment/the Arts in this plot. He says, “this is not about the enslavement of the body as much as it is of the mind. That means that this is a battle that takes on many different expressions. It’s fought on many different levels and in many different ways. Perhaps even in such a way that it’s sometimes difficult to see that it is a war. It’s not any more with guns, bullets and swords – although that does happen – but it’s more with ideas, thoughts, stories, and words. It’s weaponised ideologies, mind-viruses… One of the greatest mind-virus machines in the history of the world is… called ’Hollywood.’ Although it might not seem as a priority – as there is so much else going on – I hope you ask yourself, who is driving culture and where are they driving it and what is the reason? Is it not about time that we, those people who are concerned with the Truth, and those who know the price of the manipulative lies, start to pay close attention how to regain control of our culture, and ultimately that which influences young people; Movies, music, art – and I hate to say it – Pop culture?”…